Reviews

Puccini's TOSCA

Note from member of Board of Directors, John Bennett about TOSCA at Claremont Opera House, Claremont, NH - Oct. 2007
"Jenny,
The performance was loved by all. It seems the choice for Tosca was a big hit! A very gilt edged audience this time. It including members of the NH Charitiable Fund (Donor with large family funds), NH Arts Council board members, and the president of a large NH Company, all of whom I know
personally. I was very pleasantly surprised to see them. They all spoke highly at intermission and after of the singers. I will work very hard to make it happen a third time!”
John Bennett

TOSCA for OPERA NEW HAMPSHIRE - Manchester, NH
Oct. 2007
"Hi Jenny,
 Thank you for an amazing and wonderful performance!  Giorgio and your people are great to work with, as seconded by the Palace staff...all most accomodating. Your principle singers (and the rest) gave our audience what they came for - a truly wonderful operatic experience.  We rec'd much positive feedback (even at intermission) and our supporters are looking forward to Carmen and Aida already! Please thank your principles for attending our post-opera reception.  I hope that they experienced directly from the attendees the appreciation of the hard work that they put into their art, as well as the praise they deserved. We look forward to a nice, long relationship with you - and so do our audience!"
Thank you again - Richard Bojko
Director, Opera New Hampshire

Teatro Lirico's Tantalizing Tosca - Portland, ME - Nov. 2007
"Teatro Lirico d'Europa brought their handsome new production of Tosca to Merrill Auditorium last night and put on a grand, old fashioned night of opera.  This is a good thing.  Trust me.
 
Giorgio Lalov's production provided each act strongly representing the proper local and space.  Act I featured a rear drop of a stage filling trompe l'oliel paintingn which extended the size of the church with a beautiful Rose window which felt a mile away.  More impressive, however, was his Act II - Scarpia's apartment, a massive, windowless space making all of the action seemingly taking place in an unrelenting vision of hell.  Brilliant.  Lalov's costumes were lavish, often breathtakingly beautiful, nowhere more so than in Tosca's two stunning gowns.  (Tosca's first entrance producing a nice "ahh" sense through the house)
 
Performing the title role for the first time in this production Russian beauty Olga Chernisheva poured out that enormous voice and was visually the most beautiful Tosca in my experience.  The first gown, a deep wine velvet number with a train that seemed to extend to Poughkeepsie. Chernisheva was polished, pushing on and never less than ravishing.  Her Act I was a jealous, preening beauty, with a childlike wonder of everything that made you see why Mario could forgive her jealous outbursts and diva craziness.
 
I have heard this singer in several roles, now, principally as Butterfly and Turandot and still cannot wrap my mind around such a tiny creature emitting so enormous a wall of sound.  She scales back the sound beautifully, shading text with emotion, but when, as in Act II's many violent moments, she unleashes the full "fury" of her voice, it causes one of those rare "whoa!" moments.  How wonderful it is to have a Tosca that looks like the gal everyone wants, but also has the voice to soar when necessary.
 
William Powers presented a Scarpia dripping with malicious, sinewy evil and was brilliant, pouring out the voice when it calls for it, but often caressing the vocal line with a creepy sensuality, nowhere more so than in the Te Deum.  Powers dominated Act 2 with a larger-than-life presence his voice thundering sonorously throughout the house, owning the moment like a master.  Powers' violent mauling of Tosca was genuinely disturbing, and his final throwing her across the room was a touch typical from this power mad monster.
 
From that prone position, Chernisheva began Vissi D'arte slowly moving to her knees - with the great crimson gown pooled almost perfectly around her the effect was that she appeared to be in a pool of blood.  I don't know if that effect was intended, but afterwards, a number of friends commented upon thinking the same thing.  It was beautiful and chilling. 
 
As Scarpia's minions, Giorgio Dinev and Vladimir Hristov made much more of Spoletta and Sciarrone than one often sees in your routine Tosca.  Dinev's Spoletta in particular was a theatrical jewel, with many touches some subtle, some not very.  When he delivers Floria to the parapet for reunion with Mario, as the lovers embrace, Spoletta does a florid spin a la Julie Andrews in the Sound of Music.  It was hilarious, and at the same time, blood chilling.  I particularly loved how in Act II when threatened by Scarpia his tough guy image goes right out the window, and terrified kneels before Scarpia, providing Powers and Dinev with a Darth Vadar like intensity that, again, was chilling theatre.
 
Orlin Goranov, so effective as Pinkerton last year, simply was one of the most believable Marios in my experience.  (An artist friend attending last night, remarked, "Look at the guy, he even moves and stands like a real artist.")  His ringing sound matched Chernisheva's huge voiced heroine and when singing together their duets were delicious, old-timey.  "Recondita armonia" was ringing and true and with plenty of ping.  The "Vittoria" scene was perhaps the emotional highlight of the evening, with all three principals blasting away full volume, the orchestra fully hitting its stride, Spoleta and the henchmen (what a great name for a band!) hauling Mario away and Tosca racing helplessly around the room like a moth trapped in a window - it was EXACTLY what you want in Tosca.  I glanced over and all of my friends (several for whom this was their first Tosca), were ALL scooched to the edges of their seats, leaning over the backs of the seats in front of us!
 
As it is, TLE's new Tosca is something special, looking and sounding like the grand old opera it always wants to be.  In a world increasingly rife with concept crazy “regietheatre”, it is absolutely refreshing to see how vivid, vital and valid an old warhorse like Tosca can still be when you let Puccini do most of the work. "   OPERA L - G. Paulo Padilla - Nov. 2007

TOSCA in AMHERST, MA - Nov. 2007
"Hello Jenny,
We've had nothing but wonderful comments about the performance of Tosca last Sunday. We've had a request from a patron for the names of the performers on that day. Unfortunately I did not write it down from the announcement made that afternoon. Many thanks!"
Halina Kusleika, Assistant Director of Programming
Fine Arts Center
University of Massachusetts, Amherst, MA 

TOSCA in New London, CT - Jan. 2008
"All your cast were professionals! What lovely voices - I had spent the weekend in NY, came home yesterday at 2pm, went to the theatre, went home to change, went back to the theatre, had the opera dinner and HAD TO STAY FOR THE WHOLE SHOW BECAUSE I LOVED IT! Thank you for all your hard work in allowing us to present fabulous operas in New London, CT."
Jean Sigal
Garde Arts Center, New London CT

EXCITING TEATRO LIRICO TOSCA (New London, CT)
"Last night Teatro Lirico d'Europa thrilled an audience at the Garde Arts Center in New London, Connecticut with a very well sung, staged, and orchestrally played TOSCA. TLE General and Artistic Director Giorgio Lalov triumphed as stage director and (for the first time) as set and costume designer.  He had principals and comprimari playing the strong human emotions of this great opera to the hilt, with every expression and movement aptly motivated.  The three sets for the three acts served the drama very well.  The first-act church of Sant'Andrea was dominated on the right by Cavaradossi's very large portrait of the Marchesa Attavanti as Mary Magdalen and on the left by the Attavanti chapel, which was entered at different times by Angelotti, Cavaradossi, the Sacristan, and Scarpia and his minions.  Tosca's Scarpia's Palazzo Farnese apartment had sets of doors rear left and right, the right leading to the torture room.  The ramparts of the Castel Sant'Angelo in the third act were very well designed for both the execution and Tosca's jump to her date with Scarpia before God.

The two stars of the evening were opera-list's Gabriel González, whose rich tenor handled all of the demands of the role of Cavaradossi with ease, and Russian soprano Olga Chernisheva, who projected very well over the orchestra and sang strongly through all the registers.  As Scarpia, veteran baritone William Power's acting, was outstanding; he was the most hands-on (to Tosca), lecherous Scarpia that Laurie and I have ever seen.

González's Mexican good looks suited Mario Cavaradossi to a T, and we knew we were in for a great tenor night as soon as he sang "Recondita armonia" with such firm tone and such feeling.  His first-act duet with Chernisheva was beautifully sung and perfectly projected by both.  Visually, he clearly expressed both Mario's fascination with Tosca and his eagerness to see her leave so that he could attend to Angelotti.  González' power fueled, full-throated cries of "Vittoria" when Mario learns in the second act that Napoleon has won at Marengo.  And in the third act he sang "E lucevan le stelle" with expressive dynamics, making us believe that Mario was dying "disperato" and had never loved life so much.  A few notes when Mario was singing the same words with Tosca at the end of the third act duet went awry, but González recovered immediately and finished the duet as strongly as Chernisheva did, so that at the very end his spirit as well as hers did go up to the "estasi d'amor."

Chernisheva sang with excellent vocal color, vocally and visually embodying all of Tosca's varying emotions from love of Mario to hatred of Scarpia.  Her "Vissi d'arte" was beautifully vocalised and moving, and it deserved the long applause it received.

All four comprimari were good Bulgarian singers, typical of this largely Bulgarian touring company.  The standouts were Giorgio Dinev's expressive Spoletta and Hristo Sarafov's hilarious Sacristan, who kept taking nips from the wine bottle in Cavaradossi's food basket.

Krassimir Topolov did yet another fine conducting job for us with his Bulgarian Teatro Lirico orchestra.  His tempi moved right along in keeping with Lalov's well-paced stage direction of a truly exciting TOSCA, and his players performed very well.  I especially noticed the perfect coordination of the two French horns at the beginning of Act III."
JOHN DEREDITA - OPERA L - Jan. 2008

TOSCA in BOSTON - Jan. 2008
"Teatro Lirico D'Europa's Tosca was the kind of production in which Puccini's villain (Baron Scarpia, lecherous chief of the Roman police) wipes a tear from the cheek of the heroine (opera star Floria Tosca) and then licks the tear off his finger. You've got to love it! I've sat through my share of boring, passionless Toscas and this one was neither. It was fun.

Russian soprano Olga Chernisheva was a terrific Tosca, with her big voice (perhaps too big too much of the time) and glamorous looks, whether boiling over with misguided jealousy or nuzzling the painter Cavaradossi (even in church!), terrorized by her sadistic tormentor (Scarpia will stop torturing her lover only if she agrees to sleep with him) or plunging a knife into his loathsome heart. Her big aria, "Vissi d'arte" ("I lived for art") was more impressive than heartrending, but find me another soprano who can sing this demanding role so well and also look so convincing in it.

As Scarpia, American bass-baritone William Powers, snarling a menacing laugh as the first-act curtain descended, was not the subtlest of actors. Chewing the scenery, silent-movie-style, seems to be his meat and potatoes, but he responded vividly to every phrase, and he's got the vocal chops. Handsome Bulgarian tenor Orlin Goranov was in better voice last season as Butterfly's Pinkerton. Still, the basic timbre of his voice should be the envy of a lot of other tenors, and he and Chernisheva made a most convincing pair of lovers. As the Sacristan, Constantine Videv turned every fussy little gesture into a gem of comic characterization. And Giorgio Dinev was very creepy as Scarpia's henchman. "     
BOSTON PHOENIX - Lloyd Schwartz - Jan. 2008

TOSCA at Keenan Auditorium, Wilmington, NC - Jan. 2008
"Dear Jenny,
It was a smash hit, with the audience standing and shouting and whistling, and their applause was no more than the company deserved for a truly wonderful production - Act 2 being the outstanding Act. Voices costumes, VERY good acting, great sets, and the Sofia Symphony played really well in very cramped conditions.  I was particularly thrilled since this was the first of the productions I've booked through you actually to arrive here, and it bodes very well for the future. It was an absolutely sold-out house, by the way.

Speaking of the future, perhaps we can begin to think about possible dates for your Moscow orchestra, and also to look at what operas are available for 09/10. It seems quite likely that I'll be taking two bookings from you again that season, and so I'd ideally like to start to set them up, so that I can then plan the other two events around them. Thank you, thank you, thank you."
Fred Wharton
Wilmington Concert Association
Keenan Auditorium, Wilmington, NC

TOSCA at River Center Theatre, Columbus, GA - Jan. 2008
"TOSCA it was wonderful.  The voices, the sets and the orchestra were top notch.  Thanks so much for continuing to bring quality opera."
Enoch C. Morris Jr., Executive Director
River Center Theatre, Columbus GA
     
TOSCA at Lucas Theatre, Savannah, GA - Jan. 2008
Jenny,
Very well received, a great night all around.
I spoke with Giorgio briefly during load-in but I had to leave before the end of the show (battling bronchitis) so did not see him afterwards. Please pass on my thanks!"
Best
Ken Carter, GM
Lucas Theatre, Savannah, GA

TOSCA in Jacksonville, FL - Jan. 2008                     
"Hi Jenny,
The show was great.   
I thought this was one of the best sets. Certainly the set for Act 1 was beautiful. The cast was great - some great actors in addition to great voices. Scrapia was one of the best I have seen."
Kindest Regards,
Milton A. Russos, Executive Director
FCCJ Artist Series-Jacksonville, FL

TOSCA AND OPERA GALA - Vale, CO - Feb. 2008
Jenny,
Both were very good - great audience response.  The soloist for TOSCA were all terrific and the orchestra sounded the best it ever had."
Thanks
Kris
KRIS SABEL, EXECUTIVE DIRECTOR
Vilar Performing Arts Center

TOSCA - Palm Desert, CA - Feb. 2008
"Very nice production as always!  Thanks for bringing it to us.  Looking forward to your new production of Aida next year!"
Mitchell Gershenfeld
Director of Presentations and Theater Operations
McCallum Theatre

TOSCA - University Park, IL - Feb. 2008
"Our Theatre Manager reports that the artist who played Flora (TOSCA) was fantastic, and the tenor was also equally amazing. Our audience wanted autographs from the cast, and apparently loved the show.”
Burt Dikelsky, Executive Director
The Center for Performing Arts, University Park, IL

TOSCA - Cedar Falls, Iowa - Feb. 2008
"Hello Jenny,
Although I was not in attendance, all feedback I have heard this morning has been very positive.  I have heard a number of compliments on the high quality of voices within the company, which is wonderful for us, as we have had negative experiences with opera companies in the past.  We will be starting discussions for booking our 09-10 season shortly.  Please send me your offerings for 09-10 whenever you have that set.
Thank you,"
Molly Hackenmiller
Gallagher Bluedorn Perf. Arts Center
    
Teatro Lirico D'Europa TOSCA at the Touhill Center
Kelly Levins-Moore – Radio KDHXT – St. Louis, MO - Feb. 16, 2008
"Teatro Lirico D'Europa's performance of Puccini's TOSCA was beautiful, entertaining and moving. Every opera I have seen at the Touhill has been performed by Teatro Lirico D'Europa and I have never been disappointed. Much like last year's performance of MADAMA BUTTERFLY, Tosca was well performed from beginning to end. Soprano Elena Razgylyaeva plays the role with drama, energy and style. Her voice is haunting and robust, and she plays the role with a quiet edginess that early on foretells her dramatic undoing. The object of Tosca's affections, Mario Cavaradossi, is played with charm and innocence by tenor Gabriel Gonzalez. Together, the two create a chemistry that is almost palpable. When singing together, the stage ignited with passion and fire. Baritone William Powers played the evil villain Scarpia with a chill and coldness that instantly cut through the fire produced by Gonzalez and Razglyaeva. Power's Scarpia oozes with sleaze and coldness. Despite the character's overall one-dimensional journey, Powers manages to infuse the role with energy and charisma; his facial expressions, fluid gestures and motivated movement create a villain that is, above and beyond, evil to the core. Power's strong, robust and rich voice penetrates the role deeply, and gave me chills each time he sang. The live pit orchestra was excellent, only adding to the overall enjoyment of the evening. I left Tosca fully satisfied."

TOSCA in Clemson, SC - Feb. 2008
"Jenny,
Tosca was absolutely fabulous - everything you said it would be, and I could not have been more pleased. Our house was about 80% full, in spite of terrible cold and rain.  I was thrilled that people braved the elements to come to the performance.
  
The singers were incredible and I could not believe how they projected. The acoustics in our hall are fabulous, and really showed off the singers to the max.  I thought the orchestra was excellent as well. I was mesmerized from the opening chord and just did not want the evening to be over. Powers was fabulous - what a voice.  I'm sure he and Jennifer Larmore are quite a pair, and that's an interesting bit of news for me to know that they are married.

When is Teatro Lirico in this area in 08-09?  You really do have a wonderful company, and I have received amazing comments - one yesterday from a very snoody and critical patron who has seen many productions at the Met, and she told me that she could not find any fault with the company.

My production supervisor said that your crew was very easy to work with and I love to keep him happy. Thank you for sending such a great show. Have a great day!"
Lillian
(Lilian Harder – Brooks Center, Clemson University)

TOSCA - Naples Philharmonic Center, Naples, FL – Feb. 2008
“Jenny - Tosca was the finest opera ever performed on the Philharmonic stage. The orchestra was superb even with only one rehearsal. Kallen, Michael and William really motivated the appreciative audience with their applause for their fine singing. Staging, sets, costumes, super titles and lighting were well done. Congratulations to Giorgio, all the singers, stagehands, etc. for a wonderful production. Everyone loved it.”
 Jim
(James Weaver has been a patron of the Naples Philharmonic for over 10 years and has seen most every opera every presented there in that time)

Latest Teatro "Tosca" a must-see
By HARRIET HOWARD HEITHAUS – NAPLES DAILY NEWS
Thursday, February 28, 2008

Teatro Lirico D’ Europa is starting to compete against itself, and opera lovers here should be high-fiving each other for that. As it was, Naples gave it its best compliment Monday, standing through four finale bows after the company and three guest stars sailed through “Tosca” at the Philharmonic Center for the Arts. When Michael Hayes, as Mario Cavaradossi, sang his defiant “Vittoria! Vittoria!” the volume set a few ears ringing in the front rows.

Hayes slipped commandingly into the role of the ill-fated rebel sympathizer, stoking a beautiful voice with good dramatics. He delivered a wrenching execution-eve “E lucevan le stelle (And the stars were shining)” farewell and duet with Tosca, who has plotted, in vain, her lover’s escape.

In the last two years, Teatro has been embedding guest stars into its productions and performing here with the Naples Philharmonic Orchestra, a double injection of quality. With Kallen Esperian in the title role, it was another high: a lyric soprano with the acting ability to be the spitfire Tosca. Esperian’s laurels, like Hayes’, are extensive. She has had to hold her own against Placido Domingo and the late Luciano Pavarotti, so she can be expected to inhale a role like this one, as she did Monday.

Floria Tosca’s role isn’t a vocal gymnastic trial. But it’s full of emotional moments such as “Vissi d’arte,” a tearful rebuke to God for having left her in the clutches of Scarpia, the corrupt and lecherous chief of police. For those who don’t know the story line, God delivers, leaving a carving knife nearby for Tosca to plunge into her would-be rapist’s heart.

Esperian delivered as well, singing a strong, poignant plea half-prone on the floor, and executing her tormentor ferociously. As Tosca kneels over the body, a horn report in the score sounds, and Esperian snaps her head up, hitting the audience full-force with a look of terror at what she has done. It’s a riveting scene.

As Scarpia, William Powers sounds so much meaner than he looks. He’s got the requisite brutal baritone to make us squirm, deep and dark.

Enabling this continuing roll toward professional perfection is the Philharmonic, under the baton of a veteran operatic conductor, Steven White. The Phil’s operas are becoming can’t-wait-for-the-next-one quality.”

TOSCA – Flynn Theatre, Burlington, VT
“Hi Jenny,
 It was a very very good production. We were really thrilled. Olga    was wonderful, as were all the principals. Great singing and really good  acting as well. Jane and I couldn't have been happier. Thank you so much and kudos to the company and crew.”
Natalie
(Lane Series – Burlington, VT)

“Everything went beautifully last night and we were very happy with the performance...excellent singing and acting. Please thank Georgio for us!”
Jane
Jane.ambrose@uvm.edu
Director, UVM Lane Series, Burlington, VT
 
Teatro Lirico gives often compelling performance of 'Tosca'
“The touring company, which this season will put on at least 30 productions of the opera, always puts its best foot forward. For this show, the voices were uniformly big and solid and the acting frequently kept pace with the quality of singing.

Russian soprano Elena Razglaeva as Tosca had a lovely even range, luscious tones, and a clarity to her phrasing that was appealing. All her arias were done well. She projected the greatest amount of emotion in her second act aria in which she asks God why He rewards her this way.

She posed just long enough on the parapet before jumping at the end to allow the huge crowd to get caught up in the moment.

There was good chemistry with the charming Bulgarian tenor Orlin Goranov as her lover Cavaradossi. His voice soared easily through his famous arias, although the top notes sometimes got a bit harsh. He was also light on his feet and ambled about the stage in a comfortable and realistic way.

Bass-baritone William Powers projected the lecherous, rapacious character of Scarpia through an expressive face and a nonchalant manner that quickly became malevolent. He seemed to gather all the light around him like a black hole. His superb singing was smooth and elegantly phrased and he colored it with edge or crooned to good effect.

Sets, by necessity, were basic but provided enough of a locale. Scarpia’s red and orange “office” was more like Hades but the final parapet with the twilight/dawn light was evocative.
 
The orchestra under Krassimir Topolov did well and gave the singers plenty of space. The principal clarinet was particularly good in the opening of the final big aria in Act III. Supertitles, too, were cogent and well timed.”
Schenectady Gazette – Geraldine Freeman – Mar. 2008

TOSCA Leaves Audience in a Good Mood, Wanting More!
"The traveling production of TOSCA by Teatro Lirico D'Europa left the CAPACITY audience in a good mood, wishing for more. Soprano, Victoria Litherland, was excellent in the title role. She has sung TOSCA before with the Austin Lyric Opera and last week was in Seattle , starring in MANON LESCAUT. She was paired well with tenor, Cesar Hernandez as Mario. Baritone, Valery Ivanov was appropriately villainous as Scarpia, emphasizing the character's sadistic side rather than his mock piety. The secondary characters were well sung. The sets and costumes were first rate. Everyone deserved the long standing ovation at the final curtain."
PORTLAND PRESS HERALD - Christopher Hyde - Feb. 2004
(Performance at Merrill Auditorium, Portland , ME)

TOSCA - Clearwater , FL
"On Feb. 22 Ruth Eckerd Hall presented Teatro Lirico D'Europa's production of TOSCA with an international cast. As Tosca , Victoria Litherland showed that she can act the part of the diva. She had excellent control of her large sumptuous voice which easily soared over the orchestra. She knows how to utilize dynamics and she easily captured every aspect of her role. Puerto Rican tenor Cesar Hernandez sang Cavaradossi with a warm Italianate sound topped by exciting high notes. An excellent actor, he pulled at the heartstrings of the audience with his 'E lucevan le stelle.' Baron Scarpia was sung by Valery Ivanov who interpreted his character as an unspeakably evil villain. This Scarpia sang with distinctively colored, well projected tones. Giorgio Lalov's well thought out stage direction brought out many nuances of this oft told story and Eugene Kohn's full blooded conducting never let the tension sag. The substantial looking sets by Valentine Topencharov gave an accurate depiction of the actual Rome sites."
OPERA JAPONICA - Maria Nockin - Feb. 2004
(Performance at Ruth Eckerd Hall, Clearwater, FL)

Teatro Lirico's TOSCA Comes Up Big!
" DAYTONA BEACH - Everything about Friday's TOSCA, the outstanding final program in the Symphony Society's International Series, was big. From the moment the curtain rose, it was clear that the nearly 50 members of Teatro Lirico's orchestra were too many for Peabody Auditorium's pit. The result was a voluminous sound, just right for the outsized passions in the opera and for the singers who expressed them. Under the direction of Giorgio Lalov, the focus is always firmly on the romantic tragedy TOSCA represents. The Teatro Lirico cast, elegantly costumed and supported by an orchestra able to express the operas immense emotions, was tremendous in their ability to make every nuance felt. In the title role, the young American soprano (STEFANIE PEARCE) shone. Pearce's voice, rich and warm, shifted with emotions that spanned the gamut, and her acting made marvelously theatrical gestures entirely believable. David Corman (Cavaradossi) and Pearce were deeply affecting. their stunning voices had the greatest impact. They were in every way, terrific."
DAYTONA BEACH NEW JOURNAL - Laura Stewart - Mar. 2004
(Performance at Peabody Auditorium, Daytona Beach, FL)